Making the Transition from Guitar to Lute

A reference for students of the classical guitar wishing to know more of its Renaissance and Baroque predecessor by Tristan dAvignon

Contents
Introduction WhyPlaytheLute? BasicConstructionofaRenaissanceLute PurchasingaLute SetupandTuning TheLeftHand TheRightHand Tablature Generalities SpanishVihuelaTablature FrenchLuteTablature ItalianLuteTablature CifraNuevaTablature GermanRenaissanceLuteTablature OrnamentationandGraces ModernReadings Great!WhereDoIGoFromHere? Conclusion Bibliography AttributionsofMusicalExamples
2006TristandAvignon.FreelydistributableforthepurposesoftheSCA.

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Making the Transition from Guitar to Lute

A reference for students of the classical guitar wishing to know more of its Renaissance and Baroque predecessor by Tristan dAvignon INTRODUCTION Therearemanyandvariedreasonsfortheunwillingnessofmanyperformanceclassical guitariststotakethenextlogicalstepintoluteperformance.Itistruethatthemarketfor lutesisstillverysmall,andthatthecostofevenasecondhandlutecanbeverydaunting.It isalsotruethatlearningmusicfortheluterequiresadaptingtoawholenewstyleofnotation. However,Ifeelthatsuchreasonsarenotadequatetofullyaccountforthelackofmainstream understandingofthiswonderfulinstrument,andIfeelthatmoremustbedonetoencourage scholarshipinit. Itisthusmyintention,withtheauthoringofthispaperandsubsequentarticles,topromote understandingofthelute,itsmusicanditsrhetoric,asaviableextensiontothetheoryand practiceofthemodernguitar.Here,Iwillpresentasconciseandascomprehensiveaguide totheRenaissanceluteaspossible,suchthatanyclassicalguitaristthatreadsitwillhavea basicunderstandingofthetechniquesandmethodsinvolvedinplayingthelute,andwill perhapstakemoreofaninterestintheluteinthefuture. WHYPLAYTHELUTE? ThebasicreasonthatIwasparticularlydrawntotheluteinitiallywastheastonishing amountofextant,yetsomehowalmostuniversallyignored,repertoirefortheinstrument. Beingsocloselyalignedtotheguitar,Ishouldhavethoughtthattranscriptionsintoguitar musicand/ortablaturewerereadilyavailable,butthiswasnotthecase.Myhopeisthat someoneinthenearfuturewillbewillingtotakeupthechallengeandbeginpublishing moderntranscriptionsoflutemusicfortheguitar,inanefforttobringaround200years worthofrepertoirebackintothemainstreamforguitarists. Butultimatelyitwasthecharacteristicsoundofthelutethatwonmeover.RichardBarnfield oncepraisedtheluteastheinstrumentofPhoebus,theQueenofMusic,andthatitcould ravishhumansense.Indeed,inthehandsofaskilledperformer,thelutecarriesafarmore distinctandpuresoundthanthatoftheguitar;akindofsoundwhichpossessesawarmth andromanceallofitsown.Icannotadequatelydescribetoyoutheemotionsthatwere conjuredupwithinmeuponlisteningtoaliveluteperformance,butafterwardsIdetermined thatthiswasthedirectionIwantedtobeheadingin. Thereisnodenyingthattheluteisanunderappreciatedinstrumentinthisdayandage,and thatitisnotyetadequatelypromotedtothemainstreammusician.Ihopethatmyefforts herewillgosomewaytowardsamendingthissadstateofaffairs. BASICCONSTRUCTIONOFARENAISSANCELUTE TheRenaissanceluteevolvedfromtheMoorishud,whichhadbeenintroducedintoSpain duringthe700s.AnumberofSpanishandByzantinecarvingsfromaroundthe10thcentury showaninstrumentverysimilarinconstructiontothelutebeingplayedbyArabmusicians usingalargeplectrum.ItislikelythatthelutefirstbecamepopularinEuropeduringthe HolyCrusadesoftheMiddleAges,andthenundertookitsownevolutionalcourseinthe handsofEuropeanmusicians,separatetothatoftheud. Featuredonthenextpageisasketchofastandardsixcourselute,anditsvariousimportant parts.

Fig.1

Itiseasytoseewhytheluteisthenaturalpredecessoroftheguitar,asallofthefeatures listedinthisdiagramhaveguitarequivalents.Thereareonlyfourmajorpointsofdifference: Theluteisamuchsmallerandlighterinstrument,withabowlshapedback,butwith awiderfingerboard,whichmanyguitaristsmayfinddisconcertingatfirst. Thepegboxisbentbackwardstoretaintensioninthegutstrings. Fiveofthesixcoursesshownherearedoublestrung.Thisisentirelyoptional,and anyorallofthecoursesmaybedoubleorsingleaccordingtothepreferenceof theplayer,butthissetupisconsideredstandard. Thefretsareeditoriallynumberedfrombtoiinsteadof1through8asthey wouldbeonaguitar;IshallexplainthisingreaterdetailintheLuteTablature section. PURCHASINGALUTE Thefirstissueoftenthemostdifficultisthepurchaseoracquisitionofasuitable instrument.Lutesarenowherenearascommonintodaysmusicalmarketplaceasthe classicalguitar,andarestillunreasonablyexpensive,evenatsecondhandlevel.Itis certainlyawiseideatobuysecondhandforyourfirstlute,butremembertobearinmindthe followingthings: Askthesellerifthetuningpegsarefirmandwillnotunwindundernormalpressure. Iftheydounwind,askifthereisatricktothem,suchaspushingthepegsintothe necktostopmovement. Askifthefretsaremadeofgut.Thisisimportant,asalooseorunsuitablefretmay resultinbuzzingofthestrings.

Askifthefretsarefirmlyinplace.Thiscanalsoresultinstringbuzz,andavery loosefretcanalsobedislodgedbytheleftthumbduringperformance. Askabouttheframeworkingeneral:itsweightandfeel,itsbodywork,andwhether anythingatallismissingorbroken.Ifyoudecidetobuyaslightlydamaged instrument,youshouldbepreparedtofixityourself,ortofindsomeonewhocan. Askforacomprehensiveseriesofdigitalphotosoftheinstrumentfromseveral differentangles,tobackuptheirdescriptionoftheinstrumentanditscurrent condition.Intodaysdigitalworld,proofcheckingismucheasierthanitusedtobe, andthereisnoharmatallinverifyingthattheinstrumentiswellconditioned,notto mentionproofingyourselfagainstadishonestseller. Ifindoubt,dontriskit!Aluteisaverypriceyinvestmentatanylevel,anditis importanttofindaninstrumentthatiswellmadeandwellkept,suchthatyoumay continueusingitforyearstocome.

SETUPANDTUNING Oneofthemanybonusesforalutenististhattheymayselectanynumberofsetupswhich conformtotheirneedsmostclosely.Althoughnomedievallutessurvivetothisday,itis believedthattheyweretypicallyconstructedwithfourorfivecourses,andwereplayedwith aplectrumintherighthand.IntheRenaissance,thestandardwassixcourses,andthe instrumentwasthenplayedwithbothhands,usingthethumbundertechnique.Bythelate Baroque,thereareinstancesoflutesbeingmadewithasmanyasfifteencourses,withthe stringsbelowthestandardsixthediapasonscommonlyusedforlowbassnotes,which werecommonlyplayedusingthethumbovertechnique.Anysetupbetweensixandfifteen coursesispossible,andtheperformershouldchoosethatwhichsuitsthembest.Forthe performeralreadyskilledintheclassicalguitar,thestandardsixcourseRenaissanceluteis theobviouschoiceforasimpleandimmediatetransition.Hence,thissetupisassumedinall casesforthepurposesofthispaper. Therearenumerouswaystotunethesixcourseluteaccordingtothepreferenceofthe performer,butthecurrentconventionistohavetheopencoursesresonateatthefollowing pitches,fromlowesttohighest:Gcfad1g1.MostlutemusicoftheRenaissanceerais writtentomatchtheseintervals.Guitaristsshouldnotethatthemajorthirdinthetuning patternisherefoundbetweenthethirdandfourthcourses,ratherthanthesecondandthird asitoccursonastandardtunedclassicalguitar.1Thismayresultinsomeearlyconfusion, andperhapssomeinterestingchordsifreadingfromnotation,butultimately,mostguitarists makingthetransitiontolutewillfindlittlechallengeinadaptingtheirchordfingeringtosuit themusic. Theseatedplayingpositionfortheluteismuchmorecompactedandbalancedthanforthe guitar,astheinstrumentismuchlighter,andmaybepronetorollingbackwardsifnot correctlyheld.Thestudentmustbecarefulnottoplaceanyweightdirectlyonthe instrumentwiththearmsastheymightwithaguitar,andtopositiontheinstrumentintheir lapinsuchawaythattheycanstilllookacrosstoviewtheirchordfingeringifnecessary.Itis alsoacceptableforthestudenttouseatabletoresttheluteonwhileplaying,asthisisa documentedpracticeofthetime.2 Forguitaristswithlimitedornoaccesstoalute,theirclassicalguitaronlyrequiresthethird stringtobetuneddownfromgtof#toactasasubstitute.Whenplayinglutemusicona classicalguitarusingthissetup,theresultingsoundisaminorthirdlowerthanwhatwe
1 2

Thestandardsettingforclassicalguitartuningis,fromlowesttohighest,EAdgbe1. Webreference:http://yoyo.cc.monash.edu.au/~mongoose/gtl.html

considerstandardlutetuningtobe,butotherwisecorrect.Iftheguitaristwishestohear themusicatitstruesoundingpitch,ie.asitwouldbeproducedfromalute,theymayalso applyacapotothethirdfretoftheguitar. THELEFTHAND Thereisnotmuchthatneedstobesaidhereforthosealreadyfamiliarwiththelefthand techniquefortheguitar.Thefingersareheldoverthecourses,withthethumbsupporting behindtheneck. Astheluteisdoublestrungformostofthecourses,itisimportantthatthetechniqueofthe lefthandisveryprecise.Ifthestudentdoesnotyetownalute,anidealmethodoftraining theirlefthandfingersfortheluteisforthemtopracticeonatwelvestringguitar,inorderto gaugethepressureandaccuracyneededtoholddownbothstringsonacoursewithone finger.Alternatively,thestudentshouldpractisemakingascleanasoundaspossiblefor eachnoteontheirguitar,checkingforfingercoverageandclosefingerproximitytothefrets. Thechordsinlutemusicresemblethoseusedontheguitar,withtheaforementioned exceptionthatallnotesonthethirdcourse(soundingpitch:a)mustbeplayedafrethigher. Thetuningissuetakessometimetogetonesheadaround,butissoonovercomewith practice. Barrandhalfbarrchordsareperfectlypossibleinlutemusic,andthestudentshouldbe awarethattheywillnotalwaysbegivenaclearindicationofabarrchord,althoughthis doestendtohappenmoreoftenintablaturebooksofaslightlylaterperiod.Neverusethe leftthumbtowraparoundtheneckandfretnotesonthelowercourses,asthismayresultin fretbuzzandtheeventuallossofbalanceoftheinstrument,nottomentionitbeingavery badhabit. THERIGHTHAND Inmyexperience,implementingtheslightlymorecorrectrighthandtechniqueforthe playingoftheRenaissanceluteisverydifficult.Mostclassicalguitarists,includingmyself, arefamiliarwithwhatisknowninthecontextoftheluteasthumbovertechnique.The handisheldperpendiculartothestrings,thethumbpluckingthebassnotesandthefingers pluckingthetreble.Thenaturalshapeofthehandusingthistechniquedictatesthatthe thumbisnearertothefingerboardthanthefingers;hencethethumbisover.This techniquedidnotbecomepopularuntiltheearly17thcentury,butcannotbecompletelyruled outaswrong. TheacknowledgedmethodforplayingmusicoftheRenaissanceisknownasthethumb undertechnique.Thisisbasedmoreonthemedievalstyleinvolvingtheuseofplectrums, andrequiresthethumbandlowerarmtobefarmoreactive.Here,thefingersoftheright handareheldparalleltothestringsandthepalmisarchedoverthebridge,withthelittle fingerrestingagainstthesoundboardforadditionalsupportifrequiredforthesakeof balance.Thethumbandindexfingeralternatebetweenallsinglenotesonatablatureexcept wherespecificallyindicated,andthelowerarmprovidestheimpetusforpluckingand strumming.Thethumbplucksthestringsbothupwardsanddownwards,usingthesideof thethumb(andnotthetip)tocreateapuretone,whilethefingertipsrestonthecoursesor thesoundboard,pluckinginwardsandupwards(sometimesalternatingwithoutwardsand downwardsinthecaseofashake)whenrequired.Thenaturalshapeofthehandhere requiresthefingertipstobepositionedfurthertowardsthefingerboardthanthethumb; hence,thethumbisunderthefingers.Thismethodismorecommonlytaughtbylute

tutors,asitappearstobemostconsistentwiththepracticeofthetime.Anexampleofthe thumbundertechniqueinpracticeisshownbelow.

Fig.2

TABLATURE Generalities Tablatureisthestandardsystemofnotationforthelute.Itiseasytoadapttoonce understood,andmostguitaristsshouldalreadyhavesomeknowledgeofhowtablature functionsasamethodofmusicalnotation. Inallextanttablaturesystems,notesaregivenaccordingtotheirrhythmicoccurrenceinthe piece,usuallywithanindicatorofrhythmicvalueshownabovethenote.Forthelute,notes mayappearaseitherlettersornumbers,dependingonthesystembeingused.TheFrench andItaliantablaturesystemsarethemostdominantandareequallycommon.Bothhave theirmeritsanddrawbacksforthemodernguitarist. Rhythmicattributionsareshowninoneoftwowaysinastandardmanuscript.Thefirstis wheretheappropriaterhythmicstemisplacedabovethefirstnotetowhichthatvalue corresponds.Ifapiecefeaturedarunofsemiquavers,thefirstsemiquavervaluednote wouldberepresentedwithadoubleflaggedstemaboveitinthetablature.Thedouble flaggedstemwouldthenapplytoallthefollowingnotesuntilarhythmicchangeoccurred,at whichpointthenewrhythmicvaluewouldtakeover.Thesecondistowriteallthestemsout infull,usuallybeamingrhythmicvaluesintogroupsinrelationtotherhythmicpulseofthe music.Occasionallyastemwillbegivenwithnonotevaluebelowit;thisindicatesarest. Thelongestrhythmicvalueinatablatureisnormallyacrochet,oranonflaggedstem,hence wenormallyquadrupleallnotevalueswhentranscribingalutetablatureintomodern notation,sothatthemusicmaybeeasilyreadincuttime(2/2). Metresandtempiinlutetablaturesarelargelyunassigned,leavingmuchtotheperformers commonsenseandintuition.Nevertheless,theydoexist.Themostcommonmetresignis3 fortripletime,withforcommontimebeingusedveryrarely,asitmaybeconfusedwiththe similartempoindication.Tempomarkingscanbehelpfulindiscerningnotonlythetempoof thepieceitisassignedto,butalsothetempiofpiecesofaseeminglysimilargenreor structure.Themostcommontempomarkingsare(fast),C(neitherfastnorslow)and (slow). Thetablaturesystemspresentedherearelistedinorderfromeasiesttohardest,basedonmy ownexperience. SpanishVihuelaTablature Thevihuelaisthesisterinstrumenttothelute,andwasmorepopularinSpainthan anywhereelseinEurope.Itwasaflatbackedinstrument,incontrasttothebowlshapeofthe

lute,andallofitscoursesweredoublestrung,butisotherwiseequalinallrespects.The standardtuningforthevihuelaisconsideredtobeonetoneupfromtheRenaissancelute,but themusicofeitherinstrumentmayeasilybeplayedbytheother,astheirfingeringpatterns areexactlythesame. Thoughthisisnotmusicexpresslywrittenforthelute,thetablatureforthevihuelaisan excellentplacetostartforguitaristswishingtomakethetransitiontolute,asthetablatureis exactlythesameasitsmodernequivalent:itusesnumbernotationandisrightwayup. Hence,Spanishvihuelatablatureisanexcellentvehicleforguitariststograduallyadaptto playingmelodiesandchordsusingaslightlydifferenttuningtotheirclassicalguitar.An exampleshowinganexcerptofafantasiabyrenownedvihuelacomposerLuysMilanisgiven below.Ifyoudonotyethaveaccesstoalute,tryplayingitonyourmodernclassicalguitar withyourthirdstringdetunedtof#,andwithacapoatthefifthfretifyouwish.

Fig.3

Sadly,Spanishtablaturesarenotimmediatelycomprehensiveintheirlevelofdetail;theydo notgiveindicationsofvoiceleadingorevenheldnotes,andfeaturealmostnouseofgraces thatareacommonoccurrenceinFrenchandItaliantablatures.Becauseofthislackofdetail, manyeditionsofSpanishvihuelamusiccomewithatranscriptionintomodernnotation,with editorialadditionsofslursandtiesacrossbarlinestoclearlyindicatemultiplelayers. TheSpanishsystemdoesfeatureatleasttwouniqueelements.Thefirstistheuseofwhatwe wouldconsidertoberegularrhythmicnotation,insteadofthesubstantiallyshortened valuesfoundinothertablatures.Thesecondisthecoronada,whichisessentiallyanearly fermata,indicatingaperceptiblepauseinthemusic. FrenchLuteTablature TheFrenchsystemistypicallywrittenusingasixlinestave,withthehighestsoundingstring representedatthetopofthestave,aswithmodernguitartablature,butusingletternotation ratherthannumbers.Whereasthenumber0isgivenonamodernguitartablaturetosignify

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theplayingofanopencourse,apiecewrittenintheFrenchsysteminsteadgivesawritten above(oroccasionallyon)thecourserepresentedinthetablature.Forthefirstfretonthe course,bisused;forthesecond,c;andsoon.3Notestobeplayedonthediapasonsare usuallymarkedbelowthelowestline,occasionallywithaledgerlineforaddedemphasis, andappearasfollows: afortheseventhcourse /afortheeighth //afortheninth ///aforthetenth Fretteddiapasonnotesarepossible,andtheplayershouldwatchoutforthemaccordingly,as theyoftenrequireasubstantialhandstretchoralongbarrchordtoplaycorrectly.A diagramofthestandardFrenchfretletterattributionsisgivenbelow.

Fig.4

Whereahorizontalordiagonallineisgivenfollowinganote,thisindicatesaheldnote. Regardlessofthefollowingnotesortherhythmicvaluesattributedtothem,thenote (normallyinthebass)isheldwithonefingerofthelefthand,actingasashortpedal. LefthandfingeringsmayalsobegiveninFrenchtablature.Lefthandfingeringsarenot commoninextantbooksoflutetablature,butaremoresoinmoderneditions.Heretheyare givenbelowthetablaturestaff.Where1isgiven,theindexfingershouldbeusedtoplay thefrettednote(s).2signifiesthemiddlefinger,3theringfingerand4thepinky finger.Thisequatesexactlytothecurrentpracticeofstandardnotatedguitarmusic. Intermsofrighthandfingering,ifasingledotisgivenbeneathasinglenote,thenitshould beplayedwiththeindexfinger.Iftwodotsaregiven,themiddlefingerplaysthenote.Also possiblethoughmuchrareristhreedotsfortheringfinger.Wherenofingerindicationis given,thebottomnoteatleastshouldbeplayedwiththethumb,alongwiththeothernotesif possible.4Theequivalentsysteminguitarnotationispforthethumb,ifortheindex, mforthemiddleandaforthering.MostofthestandardfeaturesofFrenchtablatureare demonstratedintheexampleonthenextpage:acouranteforasevencourselute.

3Inmanyoriginaltablaturestheletterrisusedinplaceofc,perhapstoavoidconfusionwithanotherletter.In moderneditionsoftablature,cisusedasstandard.Theletterjisnotused,asitmighthaveappearedconfusing alongsidei.Thehighestletterusedisnatthetwelfthfret. 4Theverticallinegivenbeneathsomenotesinthefollowingexampleisaneditorialadditionforthumbednotes;this isnotconsistentwiththeoriginaltablatures.

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Fig.5

Thelearningcurveforthissystemisslight,andmostaspiringlutenistsshouldhaveverylittle troubleadaptingtothisstyleofnotation. ItalianTablature TheItaliansystemalsousesasixlinestave,andconvenientlyusesnumbernotationwhichis writtenonthelinesratherthanbetweenthem,aswithmodernguitartablature.Beyondthe ninthfret,theRomannumeralXisused;nodotsoverheadindicatesthetenthfret,whileone ortwodotsoverheadindicatetheeleventhortwelfthfretrespectively.However,theorderof stringsisherereversed,withthelowestsoundingstringpresentedatthetopofthestave. Thishasprobablybeendonebecauseofthefactthat,inlookingdirectlyatthefrontofthe lute,theloweststringisatthetopoftheneck.Thisseemslogicalenough,butitiscompletely atoddswithwhatmostguitaristsarealreadyfamiliarwith.Inaddition,whilerighthand fingeringindicationsaregivenbydotsbeneaththenotes,inasimilarmannertoFrench tablature,nolefthandfingeringcanbegiven,asthiswouldcauseconfusionwiththe numberednotes.Thus,thelearningcurveforItaliantablaturemaybeslightlygreaterthan forFrenchtablature.Twodiagrams,thefirstofthestandardItalianfretattributions,andthe secondofasimplecontrapassonuovoasanexampleofItaliantablature,aregivenonthe nextpage.

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Fig.6

Fig.7

CifraNuevaTablature Acuriousbutveryscholarlyadditiontothemid16thcenturyrepertoireofthevihuelaisthe cifranuevastyle,originallypioneeredbyLuysVenegasdeHenestrosainatheoretical treatisefirstpublishedin1557.Thetablatureiswrittenonafourlinestave,suchthateach voicereceivesitsownline.Allthenotesinthelydianmodeareassignedapitch,withtheF being1andebeing7,repeatingeveryoctave.Threeoctavesofthelydianmodearecovered: notesinthefirstoctaveofthemodearegivenasmalltailtodistinguishthemslightly fromthesamepitchinanotheroctave notesinthethirdoctavearegivenadotinordertodistinguishthem notesinthesecondoctavearenotdecoratedatall Inaddition: anynotesbelowthefirstoctavearegivenatailandadot anynotesabovethethirdoctavearegiventwodots flatteneddegreesofthescaleareindicatedwithab sharpeneddegreesofthescaleareindicatedwithtwosmallparallellines restsinapartareindicatedwithap

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Whilethismaysoundlikemoretroublethanitisworth,thefollowingoriginaldiagram makesthesystemmoreclear,despitecontainingafewerrors.

Fig.8

Fromthisdiagram,despitethevihuelabeingstrungthewrongwayround,wecanseethata tuningofEAdf#be1hasbeenassumedforthevihuelaincomparingtheequivalentpitches tothosefoundonakeyboard.Forexample,theFonbothinstrumentsis1withatail,thefis astandard1,andthef1isa1.Thebeautyofthissystemisthatthetuningoftheinstrument canrealisticallybeanythingwithintheconfinesofthestandardintervals,andyetthe notationmakesvoiceleadingremarkablyeasytodiscernwhilesightreading.Anexcerpt fromafantasiawrittenbyVenegasandnotatedincifranuevaisgivenbelow.

Fig.9

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However,asonecanseefromtheexcerpt,therearenoindicationsofrhythmgiven,meaning thatthestudentmustbeverycarefulhowtheyinterprettherhythmofthework.Aswith originalSpanishvihuelatablature,editionsoftheseworkswilloftencontainaneditorial transcriptionoftheseworksintomodernmusicalnotationtocombatthis. Thissystemisoneforamoreadvancedstudenttotackle,butcanbeveryenjoyabletoplay oncetherelevantfingerpositionsforeachnumericalsymbolhavebeenlearned. GermanRenaissanceLuteTablature TheGermanRenaissancetablaturesystemisfarlesscommon,duemainlytoitscryptic natureandgeneralincomprehensibility.Thenotesarenotpresentedonastave,andare usuallynotpresentedinanykindoflinearformat,aswithcifranueva.Inaddition,the notationitselfisaveritablenightmaretosightreadormemorise:theluteisdivided horizontallyandverticallyintoagrid,suchthateachfretoneachstringreceivesitsown figure.Twodiagrams,thefirstofthemorecommonGermanfretstringfigureattributions, andthesecondofashortexampleofafantasiabyHansNewsilderwithitsmodernnotation equivalent,areshownonthefollowingpage.

Fig.10

Fig.115

AllofthisisfurthercompoundedbytheinabilityofGermanRenaissancelutecomposersto agreeonastandardconventionfornotation,andthefactthatmanyprintedextant compilationsofGermanlutemusicareprintedinveryconfusingGothictype,whilethe writtensourcescanattimesvergeoncompleteunintelligibility. DianaPoultongivesaveryclearrundownofthebasicsofGermantablatureinherTutorfor theRenaissanceLute,usingsomeofHansNewsildersoriginalexercisestohelpthestudent buildconfidenceinreadingthissystemofnotation.However,inaccordancewithmyown

Thetranscriptionofthetablatureintomodernnotationinthisexampleisincorrect.Thethirdpassageofquavers shouldreadgabbc1.

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experience,IstronglyrecommendthestudentconcentratesonSpanish,FrenchandItalian tablatureearlyontodeveloptheirprimarysightreadingskillsandmusclememory. OrnamentationandGraces Althoughthepracticeofornamentationgraduallyfadedintononexistencebyaround1800, ornamentationwasanessentialpartofthemusicoftheRenaissanceandtheBaroque, especiallyinslowmovingpieces.Thispracticeinvolvestheembellishmentofchordsand melodiclineswithafasterinterjectionofnotesaspartofthemusicalframework,andallows theperformertoaddhis/herowncharactertothepieceaswritten.Anexampleofthe practiceofornamentationisgivenonthenextpage.

Fig.12

Inspecialcases,atablaturemaybemarkedwithspecificgraces.Themostcommonsymbols foundintablaturesarecrosses(+and)andsharps(#).Unfortunatelythereisnoclear guidelineastowhichsymbolsmeanwhichornamentalvariant,astheytendtomean differentthingstodifferentcomposers.Themostcommonmethodofperformingthe crossesisanappoggiaturafromonedirectionortheother.Asharpistypicallytakenasa shake,whichmoreorlessequatestowhatguitaristsknowasashorttrill,butcanalsobe addedtowithaturn. Otherreasonablycommongracesandtablatureindicationsinclude: Commas(,and),whichdonotseemtohaveauniversalmeaning,butareusually foundindescendingpassages

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Slurs,indicatingeitherthatthenoteswithinaretobehammeredonandpulledoff followingtheinitialpluckingofthenote,orthatthenotethesluroriginatesfromisto beheld,inasimilarmannertoastraightline Adotorasmallverticallinefollowedbyasharp;thisisknownasafallwitha relish,oranappoggiaturafollowedbyashake Adoublecross,whichisnormallyusedtoindicateaheldnoteplayedwithvibratoin thelefthand

Anexampleofsomegracesusedincontextisshownbelow.

Fig.13

Thisisbynomeansacomprehensivecoverageofpossiblegraces,astherearesimplytoo manyvariantstofocusoninthispaper.Mybestadvicetothestudentistoobservethe directionsgivenintheprefatorynotesforthetablaturebooktheyarereadingfrom,orthe editorialnotesinthecaseofamodernedition. MODERNREADINGS Ofthemoderntreatisesonluteperformance,thecurrentstandoutisDianaPoultonsA TutorfortheRenaissanceLute.Thistreatisemakesapointofcoveringasmanybasesas possiblewithrespecttothetheoryandpracticeofthelute,andgivesclearandwellbalanced exercisesfortheaspiringlutenisttolearn.MuchofwhatIhavecoveredinthistreatiseis coveredingreaterdetailinPoultonsbook,butwithmoreofafocusondeveloping performanceskill.TheexercisesPoultonprovidesforbeginnersarewellbalancedandwell structured,andslowlybutsurelyleadintoperformancelevelmaterialthatwouldbesuitable andwellreceivedatanyearlymusicconcert.Irecommendthisbooktomusiciansatall levelsofproficiencyinthelute,asevenhardenedexpertsmayfindthemselveslearning somethingnewandintriguing. StefanLundgrensMethodfortheRenaissanceLuterunsaclosesecondtoPoultonswork, ifonlyforthefactthatitisbriefer.Lundgrenpresentsasimilarcollectionofexercisesand gradedworksfortheaspiringlutenist,butherethefocusismoreonexercisesthanonwildly brilliantperformanceworks.HeconcentratesexclusivelyonFrenchandItaliantablature(I donotbelievethistobeabadthingatall),andgivesclearandconciseinstructionsforhis lessonplans.Lundgrenalsogivesanindexofaddressesatthebackofthebookforpeople wishingtomakeinquiriesaboutthelute.Awordtothewise:whileIwouldexpectthe companyandsocietynamestobethesame,theaddressesmayhavechangedsince1986.It wouldbebesttotakethecompanynameandenteritintoGoogleSearchforbestresults.This isanidealbookforabeginningstudent,andwillgivethemagoodgroundinginthe appropriatetechniquestheyneedtobecometrulycompetentinluteperformance. Forthemoreadvancedstudentofthelute,therecentlypublishedPerformanceonLute, GuitarandVihuelamayprovidesomeinterestinginsightsandsurprises.Inparticular,I foundthechaptersonaccompanyingItalianmadrigals,thefifteenthcenturyplectrumlute andtheperformancepracticeofEnglishlutesongwellworththeread.Indealingwiththe finerpointsofluteperformancepractice,italsoservedasaremindertomeofthereasonwhy Imostwantedtoauthorthisbriefpaper.AsDanielFischlinwritesattheendofhischapter onEnglishlutesongperformancepractice:Likethelover,theperformerenactsand

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facilitatestheintimaciesofexchange,theinvisibleandsometimesbarelyaudibleintercourse thatgivestheperformativeexpressionofthelutesongitselusiveaffect.6Testosteroneand oestrogenaside,thenotionofloveandromanceassociatedsocloselywiththeluteshould neverbelostonthestudentortheperformer.Despitetheratheracademicappearanceof muchofthisbook,itisthelittlesentimentslikethisthattrulymakeitworthreadinginfull. Inadditiontoallthreeofthesebooks,thereexistcountlesssmallerbooksandjournalarticles dealingwithspecialfacetsofluteperformanceindetail.Nonearetobediscounted,butall willhaveslightlydifferentopinionsonasinglesubject.Booksandarticlesthatfocusonthe interpretationofasinglesourceshouldbefavouredaboveallelse,asthesearetheclosest possibleacademicinsightswecangettotheoriginalperformancepracticeofthetimewithout perusingthemanuscriptsourselves.Butultimately,anyreadingthatdrawsthestudent towardspursuingthelutefurtheriswellandgoodinmyopinion. GREAT!WHEREDOIGOFROMHERE? Notknowingwheretogoafterlearningyourfirstfewexercisesandpiecesisarealhassle. Therewillbemomentsfortheincipientstudentwheretheyfindthemselvesstuckinarut withthepiecesthatPoultonandLundgrenofferforpractice.Itistimeslikethesewhenthey willneedtobranchoutontheirownandfindsomethingthatactivelyholdstheirinterest. IcanpersonallyrecommendtheayresofThomasCampionasbeingreasonablysimplebuta lotoffuntolearnandplay.Hisfirstcollectionofayres(1601),combinedwiththeworksof PhilipRosseter,remainagreatsourceofinspirationandacunningteacheroftricksthat havedonemyplayingaworldofgoodinthepast.Conversely,Iadvisenewstudentstobe waryoftheworksofJohnDowland,asmanyofthemareveryprettytolistentobut fiendishlycomplextoperform. OfthemajorItalianlutecomposersoftheRenaissance,Iaminclinedtorecommendthe worksofFrancescoCanovadaMilano.Hisworksarewellgraded,fromthedisarmingly simpletotheravishinglydetailed,andthelutebooksheleftbehindcontainmanya rewardingchallengefortheardentlutenist. IdonotrecommendtheincipientstudentattempttheFrenchairdecoursearlyon,asthere aresomeissuesspecifictothisgenreintermsoftablaturethatarerathermorespecialised thanmostperformersknow.Inparticular,thereislittleornoinformationgivenusastothe meaningofmanyofthegraceswrittenintothescore,sointerpretationoftheseworks requiresagreatdealofplanningandforethought. IfthestudentwishestoattemptsomeSpanishvihuelatablature,theworksofLuysMilanare anexcellentstartingpoint.Whilethepiecesthemselvesarerelativelysimple,Milanisvery detailedinhisinstructionsastohowmostofhispiecesshouldbeplayed,andhewill occasionallygiveperformancedirectionsthatareagreatdealaheadofhistime,suchasthe notionofspeedfluctuationsanddynamics. HansNewsilderistheGermanmasterofthelute,andhistheoreticalwritingsonthesubject ofthelutearewithoutpeerinthearea.However,ifthestudentdoeswishtoattemptawork ofNewsilders,theyshouldreallyfindaneditiontranscribedintoFrenchorItaliantablature, orevenmodernnotation,asattemptingtodeciphertheoriginalGermantablatureisarisky idea.
6Coelho,VictorAnand(ed.):PerformanceonLute,GuitarandVihuela.CambridgeUniversityPress,Cambridge, UK.1997.p.71.

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CONCLUSION Withinthecontentsofthispaper,itismyhopethatanyguitaristwhoreadsitwillfindat leastonethingthatintereststhemagreatdeal,andthatwillencouragethemtoatleasttakea lookintothetheorybehindthelute,ifnotmakeanefforttolearnaboutitsworkings,oreven toattempttolearnitinpracticeasasecondaryperformanceinstrument.Ihavetakenthe longwaytowardslearningmoreaboutthelute,andfranklyIwishIhadhadmoreofan incentivetofollowthroughwithit.Butattheendofitall,myfeelingsallcomebacktothe wonderful,intoxicatingsoundoftheluteitself,andmyfeelingsofregretthatitisnotaswell recognisedoraswellreveredasoundasitwas400yearsago. Withthefinalfewwordsofthispaper,Iencourageyoutolistentosomerecordedlutemusic atsomepointinthefuture,andseewhatyouthink,andmoreimportantly,whatyoufeel.IfI amright,thereisdefinitelyaplacefortheluteintheears,heartsandmindsofthe21st centuryaudience.Allitneedsisafewgoodpeoplewhoarewillingtoseethecausethrough, andIhopeIamtheretoseeitwhenithappens.
(5,809words) Bibliography: Poulton,Diana:ATutorfortheRenaissanceLute.Schott&Co.Ltd.,London,UK.1991. Lundgren,Stefan:MethodfortheRenaissanceLute.TreeEdition,Mnchen,Germany.1986. Coelho,VictorAnand(ed.):PerformanceonLute,GuitarandVihuela.CambridgeUniversityPress, Cambridge,UK.1997. Kadis,Howard:AGuidetoReadingRenaissanceLuteTablature.MusicaSacraetProfana,SanLorenzo, CA,USA.1976. Ault,Norman(ed.):ElizabethanLyrics.CapricornBooks,NewYork,NY,USA.1960. Kroyer,Theodor(ed.):PublikationenltererMusik:II.LuysMilan,MusikalischeWerke.Breitkopf& HrtelWiesbaden,Darmstadt,Germany.1967. AttributionsofMusicalExamples: Fig. Author(bookasabove) Page 1 Lundgren 5 2 Lundgren 14 3 Poulton 52 4 Lundgren 7 5 Poulton 26 6 Lundgren 7 7 Poulton 41 8 Poulton 125 9 Poulton 126 10 Kadis 15 11 Kadis 14 12 Kadis 20 13 Poulton 75

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